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Here is a compilation of some of the biggest hip hop artists out of South Africa and their songs from the year 2020.

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Just how popular is hip-hop in South Africa?

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Just how popular is hip-hop in South Africa?

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This article discusses that just like the rest of the world, country's in Africa, and especially South Africa, have seen a continued growth in the popularity of hip-hop.

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By now, the story of hip-hop's birth in the Bronx is common knowledge. In the early 1970s, DJ, dance, rhyming, and graffiti art cultures mixed and help birth the cultural movement that we now know as hip-hop. It only took a short time, however, before hip-hop began to spread to other cities in the United States. It went much further soon after that. Famously, in the fall of 1982, The New York City Rap Tour took The Rock Steady Crew, Fab 5 Freddy, Rammellezee, and more to Europe, setting an important precedent as the first international hip-hop tour.

In the decades since that initial wave of creative energy, hip-hop has become a truly global culture. With robust scenes throughout South America, the Caribbean, Europe, Asia, and beyond, it would be an understatement to say that hip-hop has touched every corner of the planet. Africa is no exception. Today, hip-hop is thriving in Ghana, Kenya, Senegal, and beyond. South Africa, in particular, has enjoyed a flourishing scene, one that has only grown in prominence in recent years.

Looking for new hip-hop and R&B sounds from around the world? Check out our playlist, The Global Cypher.

For my entire adult life, I have written about hip-hop culture. I actually fell into this profession in part due to my curiosity about hip-hop's international scene: One day in my junior year of high school, I was cutting class and hanging out in downtown Philly when I came across a flyer advertising a screening of a documentary about hip-hop in Japan. Later that night, when I called the number for more information about the screening, a man I would come to know as writer/activist Ogbonna Hagins answered and I excitedly chatted him up about my love of hip-hop. Hagins was the publisher of a small local zine called The Philly Word. He asked me to join his team as a writer, I agreed and I've spent the last 20 years writing about hip-hop culture from around the world.

Nonetheless, I have plenty to learn, so I will be using this column as a way to share a few quick facts that I learn about hip-hop from around the world. In this edition, I dove into the South African hip-hop scene. Here's a few things that I found in my research.

South Africa is full of incredible hip-hop lyricists

Whether it's in Soweto, Johannesburg, or Cape Town, the art of MCing continues to be honored and upheld in South Africa, especially when it comes to artists like Nasty C, Cassper Nyovest, Priddy Ugly, A Reece, Shane Eagle, Kanyi, and more. In the same way that we've seen from non-Western artists around the world, this new crop of South African rappers are second to none in terms of their skill and dedication. When Nasty C appeared on Sway In The Morning last year, he was asked whether he was amazed at the fact that he can command the artform of MCing so well, despite being thousands of miles removed from its birthplace. Nasty C replied that it wasn't. "That's all the music that I grew up listening to and the culture I grew up consuming and being such a huge fan of." While they all put their unique spin on things, you can tell the core spirit of hip-hop is alive and well in their work.

South Africa has a vibrant graffiti scene

Just like its sister elements, breakdancing, rap, and DJing have effortlessly taken root in communities around the world, graffiti is also global. South Africa is no different as the home of gifted artists like Falko One, MARS, Skumbuzo Vabaza, and others. With their wide variety of styles and daring approaches to coloring, South African graffiti is among the finest in beautifying walls.

South Africa brings its own unique flavor to hip-hop

South Africa has a long tradition of innovative music genres: From the cool bounce of amapiano to the fluid call-and-response of kwaito, South African music has always had its own flavor. Many of the artists making hip-hop can't help but be influenced what they're hearing around them, and a song like "Buylie" is no exception. The track - done by Khuli Chana and featuring Tyler ICU, Stino Le Thwennt, and Lady Du - mixes the slow burn of amapiano with hip-hop vocals. It's just one example of how South Africans are taking elements of hip-hop and making it their own.

Hip-hop in South Africa is in tune with what's going on around the world

While many artists take homegrown sounds into a hip-hop framework in South Africa, there are plenty that have their ears tuned outward. The beat to Cassper Nyovest's "Nokthula," for instance, sounds like the latest Brooklyn drill anthem. But the rapping is undeniably from South Africa, featuring a searing verse from Busiswa. Cassper's 2020 album, A.M.N. (Any Minute Now) sounds like it's directly in line with many of the best hip-hop albums these days, ranging in sound from chill boom bap to smooth R&B and beyond.

Teargas is one of South Africa's greatest rap groups

Teargas is one of the most celebrated hip-hop groups in South Africa. Ntokozo "K.O." Mdlui and brothers Ezee "Ma-E" Hanabe and Bantu "Ntukza" Hanabe have made their reputation on releasing politically conscious music covering a variety of topics, so it's no surprise that the group's name has its roots in South Africa's anti-apartheid struggle. (The name Teargas is a reference to the teargas canisters shot at protesters during the struggle against apartheid.) It is a simple yet poignant reminder of how those fighting for liberation were met with violent repression. Teargas' 2009 full-length Dark Or Blue became the first hip-hop album to be nominated for album of the year by the the South African Music Awards.

DJ Codax is one of the country's best DJs

DJ Codax is a hip-hop turntablist from South Africa with global reach, complete with multiple appearances in DMC World DJ Championships. A seasoned and versatile DJ on both the club and international battle scenes, Codax carries on in hip-hop's great tradition of DJs who play the turntable like a musical instrument. Codax's 2019 DMC Online Final routine is a brilliant display of skills with precise cuts and mixing as well as some really inventive beat juggling. Codax also contributed scratches to Capetown MC/Producer duo Cream and Hipe's fantastic album Bruin Brood.

South African rap legend Ben Sharpa grew up in Chicago

In the summer of 2018, the international music community was shocked by the death of South African hip-hop legend Ben Sharpa. I had been aware of Sharpa's music for some time (we even appeared on a compilation together a few years back) but I had no idea until recently that he spent some of his formative years in the U.S. Despite being born in Soweto, Sharpa spent time in Chicago before returning to South Africa in 1993 for the country's first free elections. Musically, Sherpa's discography stands out, as he incorporated a variety of sounds including dub and electronica. Sharpa and his powerful voice are greatly missed by hip-hop fans everywhere.

Looking for new hip-hop and R&B sounds from around the world? Check out our playlist, The Global Cypher.

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Hip-Hop in South Africa: A Few Things We Learned From Afar

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By now, the story of hip-hop's birth in the Bronx is common knowledge. In the early 1970s, DJ, dance, rhyming, and graffiti art cultures mixed and help birth the cultural movement that we now know as hip-hop. It only took a short time, however, before hip-hop began to spread to other cities in the United States.

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Ebro Darden of Apple Music visits South Africa, specifically Cape Town and Johannesburg to talk to up and coming artists not only about their music, but the culture in South Africa and hip hop as well.

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Ebro: Hip-Hop In South Africa with Sjava, Shane Eagle, and YoungstaCPT | Apple Music

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Sjava, one of the up and coming artists out of Johannesburg, makes it onto the Black Panther soundtrack, a huge accomplishment for an artist coming out of South Africa.

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Xenophobia is widespread in South Africa, ravaging havoc and taking lives, and it can also be seen in the hip hop scene too.

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(Johannesburg) - Xenophobic harassment and violence against African and Asian foreigners living in South Africa are routine and sometimes lethal, Human Rights Watch said in a report, video, and Witness article released today. Despite the March 2019 adoption of a government action plan to combat xenophobia, the government has done very little to ensure that attacks by members of the public, the police, and government officials are investigated and that those responsible are held accountable.

The 64-page report, "' They Have Robbed Me of My Life': Xenophobic Violence Against Non-Nationals in South Africa," details xenophobic incidents in the year after the government adopted the National Action Plan to Combat Racism, Racial Discrimination, Xenophobia and Related Intolerance. Human Rights Watch documented killings, serious injuries, forced displacement, discrimination, and barriers to justice and basic services. The problems include indifference, denial and tacit approval of xenophobic actions by government and law enforcement authorities, barriers to legal representation, and difficulty in acquiring and renewing documents to maintain legal status and to access services including education and health care.

"Non-South African nationals have suffered wave after wave of xenophobic violence and live in constant fear of being targeted solely for not being South African," said Kristi Ueda, Africa division fellow at Human Rights Watch and author of the report. "The South African government should hold those responsible accountable to the fullest extent of the law. Impunity only emboldens others and perpetuates xenophobia."

Human Rights Watch interviewed 51 people - including 2 children, ages 10 and 11 - who live in Western Cape, Gauteng, and KwaZulu-Natal provinces and reviewed media reports and South African laws, regulations, and decisions. Human Rights Watch has long documented xenophobic harassment and attacks.

Foreigners are scapegoated and blamed for economic insecurity, crimes, and government failures to deliver services and have been targets of nationwide protests and shutdowns characterized by mob violence, looting, and torching of their businesses. In early September 2019, mobs wielding weapons and chanting anti-foreigner slogans attacked and forcibly displaced non-nationals, destroying thousands of their business and homes. None of those interviewed has yet to recover financially or achieve justice. Although the government stated that 10 of the 12 killed in the violence were South Africans, Human Rights Watch has found that at least 18 foreigners were killed during the violence.

South African government and law enforcement authorities have repeatedly claimed that these waves of violence were purely criminal and not motivated by xenophobia.

A refugee from Democratic Republic of Congo told Human Rights Watch: "I was selling clothes on the street when nine South Africans carrying sjamboks and sticks came. They were beating people, shouting 'You foreigners, go home! We don't need you here! You are taking our jobs and money!' I started to run away, but I was beaten, and my two bags of clothes were taken."

Law enforcement officials have operated in discriminatory and abusive ways against non-nationals, Human Rights Watch found. Raids to crack down on counterfeit goods have targeted foreign-run businesses. During the raids, police have shot rubber bullets into crowds of people then ransacked and destroyed foreigners' shops. In coordination with the Department of Home Affairs, the police have conducted abusive documentation raids in areas known to have many non-nationals.

The police have detained people arrested for allegedly lacking documentation in police station cells and deportation centers, in some cases denying them court hearings or not bringing them before a judge in the required time period. Officials have frequently claimed to have lost or misplaced the arrested people's documents or other possessions.

All those interviewed expressed frustrations with acquiring and renewing adequate documentation to maintain legal status in South Africa. Holders of the Section 22 asylum seeker permit must renew their permit every 6 months, which requires arriving at the Department of Home Affairs office by 5 a.m. or 6 a.m. to ensure a good spot in line. Some said they have painstakingly renewed this permit twice a year for years even though banks or hospitals often reject the permits and the police harass them anyway.

The National Action Plan provides a framework to address many of the problems non-nationals face, but it seems to have had very little impact on the lives of Asian and African foreigners living in the country, Human Rights Watch found.

"Launching the National Action Plan was a positive step, but clearly more urgent, concrete measures are needed, particularly to end violence, police harassment, and impunity," Ueda said. "Protecting non-nationals from further attacks and ending impunity for xenophobic violence requires a long-term strategy and not just words on paper."

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South Africa: Widespread Xenophobic Violence

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(Johannesburg) - Xenophobic harassment and violence against African and Asian foreigners living in South Africa are routine and sometimes lethal, Human Rights Watch said in a report, video, and Witness article released today.

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Here is a list of 10 of the most notable South African female rappers up until 2016, making clear that women have played a role in South African hip hop for quite a while.

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Our list of the most influential women in local rap history includes many impressive names: Like Yo Girls, the first ever all-female South African rap crew who performed in the '80s, to the new crop of rappers, like Fifi Cooper, Kanyi, Gigi Lamayne and more. These rappers are ensuring women's presence in hip-hop is felt and influencing more to pick up the mic.

Kanyi

Image: Onele Liwani

Kanyi is one of the most prominet South African lyricists. Her guest verses alone put her in a league of her own. Her solo stuff is not just about dope bars - though she has plenty of those - but conceptual tracks with subject matter that straddles social commentary and abstract spirituality. She has a critically acclaimed album, Iintombi Zifikile. Kanyi is one of the key names in spaza - a hip-hop subgenre that originates in the black townships of Cape Town. Kanyi has performed in festivals in Sweden, Zambia, Zimbabwe and is currently working on a project due for release before the end of the year. We interviewed her earlier this year about the first single to the project here.

Gigi Lamayne

Gigi Lamayne is one of the most visible women who rap. Apart from being able to rap spheres around your favourite, she has made major moves within a short space of time by collaborating with heavyweights like Khuli Chana, Tumi Molekane and AKA. Gigi, who is signed to Dreamteam, alongside Khuli Chana, iFani and Magesh just to mention a few, won Best Female in 2012 and 2013 at the South African Hip Hop Awards. Gigi is relentless on the mic and not one to censor herself. She is one of the few artists who spoke up during Fees Must Fall, having been a Wits student at the time. She released a burning song "Fees Will Fall". American website Afropop Worldwide, called her "a voice of change". Gigi has two solid mixtapes under her belt and is gearing up to release her debut album.

Fifi Cooper

Fifi is known as The First Lady of Motswako, joining an already star-studded roster featuring HHP, Khuli Chana and Cassper Nyovest. She is signed to Ambitious Ent, the same label as Emtee. The rhyme spitter can also sing well, and appears on Emtee's album, Avery. She is one of the fastest rising hip-hop stars, with three SAMAs under her belt in just about three years in the industry - she took Best Newcomer, Best Produced Album and Best Female Album. Last year, she was handpicked by AKA to appear on the remix to his "The Baddest " hit, alongside Moozlie, Rouge, Nadia Nakai and Gigi Lamayne.

Godessa

Burni Aman, EJ Von Lyrik and Shameema Williams released their first single, " Social Ills" - still hailed a classic - in 2002. For a long time they were the only all-female hip-hop crew in South Africa. They released their debut album in 2006 titled - another near-flawless body of work. The trio managed to make socially conscious music that was neither preachy nor bland, by rapping over beats that were influenced by soul and funk. "Mindz Ablaze" is still a guaranteed party starter. Even though they haven't performed together in years, two members are still active artists. EJ Von Lyrik, who released her debut album Method In The Madness in 2007, has been touring Europe, and got a compliment from the revered American hip-hop group Public Enemy's Chuck D as "one of the top MCs on the planet". She also performed with Prophets of the City at last year's Cape Town International Jazz Festival. Burni Aman, who's now based in Switzerland, released an album in 2014 called Sweet Science.

Yo Girls

Yo Girls was the first all-female rap group in South Africa. With eight members, the Cape Town crew was established in the mid-'80s, and ran through the early '90s. Yo Girls never got to record any music, but they did pave the way for more women in the genre, through performing at The Base - a popular Cape Town club where rappers, like Prophets Of The City, used to perform in, the '80s. According to former group member Malikah Daniels the rest of the members are no longer involved in hip-hop. Malikah remains the only one as she is the booking agent for DJ Ready D, to whom she's also married.

Ms Supa

In 2005, Ms Supa was the first woman to be on South Africa's only print hip-hop publication, Hype. She appeared on HHP's 2009 album Dumela and has worked with Skye Wanda, Qba, PDotO, Blaklez among others. In 2007, her single "10111" was a long-serving number one on T'bo Touch's Metro FM hip-hop show Rhyme and Reason. Ms Supa's deep voice, clear delivery and expressive lyrics make her a charismatic rapper, and the fact that she's also a dope singer, makes a well-rounded artist. Her music is versatile, it mixes both old and new school elements. Peep her brilliant HerStory In The Making EP as you wait for her long-promised album.

Miss Nthabi

For a very long time, Miss Nthabi was one of the few names that popped up when one thought of women in South African rap music. In the mid-2000s, she was making multiple appearances on Hype Magazine's then-popular mixtape series, Hype Sessions. On " Breathe", a track she did with the rapper Reason, she displayed lyrical skill and technical adeptness many rappers could only dream of. In 2006, she released From The Streets To The Lab, an EP that's considered a South African hip-hop classic. Miss Nthabi has collaborated with Battlekat, Lebo Mashile, MXO and Maleh, among others. The rapper still remains as lyrical as she was in the mid-2000s. Her debut album, 2011's Welcome To Me, is a smooth listen boasting production from respected South African producers, DJ Kenzhero, Helio, Battlekat, Ootz to name a few.

Protista

Protista has been on the grind. Her music is strictly boom bap, and she spits well-thought out sixteens with a heavy 90s influence. Protista may not be playlisted on Metro FM, but that doesn't take away from her contribution to South African hip-hop. Her music is tailored for a niche market which she serves well, with dope performances at hip-hop-specific events like Back To The City, End Of The Weak and The SoCo Show. She is one of the few women who battle rap in South Africa, and she's good at it. Check her out obliterating Durban rapper Lex LaFoy in this 2012 battle organised by South Africa's most respected battle league, Scrambles For Money, below.

Yugen Blakrok

Yugen Blakrok has performed at Oppikoppi and other festivals in countries like Czech Republic, Germany, France and Sweden. The rapper is signed to Iapetus Records - the same label as Tha Hymphatic Thabs and Fifi (not Cooper). Her lyrics are dense and tailored for the attentive listener, and they sit well over the producer Kanif's ominous production. Yugen is one of those few hip-hop artists who have managed to be successful without compromising their music. Her debut album Return Of The Astro-Gothis a challenging listen that takes multiple listens to grasp. Yugen is one of the few women who do what many deem dungeon rap - abstract lyrical content, and songs that aren't dependent on melodic hooks and candy production.

Qba

Qba has a steady flow, a swaggering drawl, and raps with ease. She has a versatile lyrical content. She can tell you how unfuckwithable she is, and tell you what it's like growing up in the gutter, for instance on the song, "Iron Village". Qba, who is also a model, is fashionable but lets her bars do the talking. She paid her dues with mixtapes like The Gutter Butter Vol. 1 and 2, both hosted by DJ Zakes. The rapper used to perform in sessions like the Splash Jam in Jozi, and has performed at Back To The City, among other events. She might not be on your radio or TV, but in the mid-2000s, alongside the likes of Nthabi and Godessa, she was one of the few rappers who were ensuring women's involvement in South African hip-hop wasn't just on music videos and behind the scenes.

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10 notable South African female rappers of all time

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Our list of the most influential women in local rap history includes many impressive names: Like Yo Girls, the first ever all-female South African rap crew who performed in the '80s, to the new crop of rappers, like Fifi Cooper, Kanyi, Gigi Lamayne and more.

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Feminism emerged in South Africa, due to the efforts of many, but 4 main women can be regarded as pioneers in these efforts, bringing feminism in general and in hip hop to where it is today.

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Feminism in South Africa and its legal influence

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The concept of feminism is often misunderstood and associated with women who bear sentiments of anger towards men. Feminism is also often associated with false stereotypes, such as "Feminists hate men", "Feminists are angry", "All feminists are career women and do not support stay-at-home moms" and so on

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Here, one researcher goes on to analyze a compilation of songs that come from women in the hip hop scene in South Africa, and some of the themes that come with.

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Hip-Hop in North Africa versus Hip-Hop in South Africa

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Hip-Hop in North Africa versus Hip-Hop in South Africa

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This article aims to discuss how hip-hop music from the Northern portion of Africa has been sold to South Africa as superior, and contains messages that can be considered misogynistic often times.

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Journal Information

The Agenda journal facilitates dialogue and debates between academic gender researchers, activists within the women's movement and other segments of civil society. The journal is recognized as part of African women's long-term struggle against unequal power relations. It was first published in 1987 and is now in its 20th year of publication. To date, Agenda Feminist Media has published 70 themed, quarterly journals.

Publisher Information

Building on two centuries' experience, Taylor & Francis has grown rapidlyover the last two decades to become a leading international academic publisher.The Group publishes over 800 journals and over 1,800 new books each year, coveringa wide variety of subject areas and incorporating the journal imprints of Routledge,Carfax, Spon Press, Psychology Press, Martin Dunitz, and Taylor & Francis.Taylor & Francis is fully committed to the publication and dissemination of scholarly information of the highest quality, and today this remains the primary goal.

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Being a 'Bitch': Some Questions on the Gendered Globalisation and Consumption of American Hip-Hop Urban Culture in Post-Apartheid South Africa on JSTOR

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Journal Information The Agenda journal facilitates dialogue and debates between academic gender researchers, activists within the women's movement and other segments of civil society. The journal is recognized as part of African women's long-term struggle against unequal power relations. It was first published in 1987 and is now in its 20th year of publication.

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Misogyny and a "hatred" of women in South Africa

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Misogyny and a "hatred" of women in South Africa

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Unfortunately, "South African men hate women" is a phrase uttered too often in South Africa, alluding to the immense amount of gender-based violence which takes place in South Africa.

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Gender-based violence starts with words, it starts at home when boys learn that girls are inferior

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A Brief History of South African Hip-Hop so Far

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A Brief History of South African Hip-Hop so Far

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Here, a brief history of the hip-hop culture in South Africa is discussed, from its emerging days in 3 decades prior, to seeing world renowned artists on the come up.

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Ten moments that made this genre dominate the musical landscape

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The First South African Album to go Platinum

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The First South African Album to go Platinum

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Not only has this album by AKA managed to garner large popularity in South Africa, but it has garnered attention from audiences in the US and UK as well.

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Senyaka is widely regarded as the first South African Hip-Hop emcee, and set the groundworks for the flourishing scene that can be seen today.

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Graffiti emerges in South Africa from Hip-Hop influences

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Graffiti emerges in South Africa from Hip-Hop influences

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Along with the emergence of Hip-Hop's influence in the 1980s in South Africa, and especially Capetown, graffiti emerged as well.

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A Diasporic Culture at Home: South African Hip Hop

Hip Hop has had a presence in South Africa since the mid-1980s. Hip Hop music was played in the clubs, kids danced and dressed along the lines of US American Hip Hop movies, and graffiti began to appear on the walls of Cape Town.[67] The social reality, however, was determined by the apartheid regime, especially for the so-called blacks and coloured people.

Racism, forced resettlement and segregation, police violence, poverty, lack of career opportunities and the lack of opportunities for leisure pursuits: The worsening political situation at the end of the 1980s catalyzed the politicisation of Hip Hop. The Zulu Nation, formed 1974 by Afrika Bambaataa in New York, was decisive in bringing together youth with Hip Hop culture as a positive outlet and social movement and in doing so, countered gang violence. With the collaborative project Hip Hop Against Apartheid, they even directly supported the ANC. But Hip Hop had already been planted in the 'mother soil' and born fruit there.

With Prophets Of Da City (POC) and Black Noise, both from Capetown, South African Hip Hop was brought onto the global map. Created while still under Apartheid, they were heavily influenced by the legacy of the Black Consciousness infused X-Clan or the Native Tongues. They could also build on a local heritage of leaders such as Steve Biko. Therefore, knowledge as the 5th element - besides MCing, breakdancing, graffiti and DJing - became an integral part from the start. It enables people to establish a self-conscious identity that is both constructed and expressed through Hip Hop. This identity is always part of a reality in which POC texts are censored by the government or banned from the programme by radio and TV stations.[68] As a vehicle for education, Hip Hop's primary purpose is empowerment, and it serves the community with revolutionary social commitment.[69]

From the late '90s onwards, new crews were formed throughout the country. In Capetown, the Brasse Vannie Kaap and the legendary all-female crew Godessa hit the stage, both with socially critical texts. The Rhyme and Reason Crew and Cashless Society were founded in Johannesburg. In Durban, The Big Idea Crew emerged when Zulu Boy released the first rap album in isiZulu in 2006.[70] The use of various languages and code-switching became a strong marker for a 'glocalized' identity. However, the political movement of the POC era lost its impetus. For economic reasons, but also because lyrically demanding music was much less attractive to the club experience, Hip Hop as a movement for social change went back underground.[71]

In the post-apartheid years after 1994 and the easing of censorship, a newly developing genre kwaito lowered major labels' interest in marketing Hip Hop even further. This made essential efforts for reinvention and for independence at all levels of the production process, from musical equipment and home recording to distribution and management. An important landmark for the independent Hip Hop scene was the album Error Era by Hymphatic Tabs in the year 2001, which was the cornerstone for many later albums to come.

A major breakthrough was Yugen Blakrok's internationally acclaimed The Return of the Astro-Goth in 2013, released under Iapetus Records. Strongly devoted to the culture, the Joburg-based label became a platform for South African independent Hip Hop. Even though committed to social critique, the Iapetus artists are less openly political, but build heavily on esotericism, outer space imagery and afro-futuristic aesthetics. The label serves as a home base to dig deeper into the cultural vaults and lyrical gold mines of conscious Hip Hop, while at the same time emphasizing its unique signatory approach to the style.

https://baslerafrika.ch/content/uploads/2018/01/Prophets-of-da-City_Never-Again.mp3

Prophets of Da City: Never Again, on: ibid.: Never Again, Beggars Banquet Records 1994.

https://www.baslerafrika.ch/content/uploads/2018/01/Yugen-Blakrok_Neo.Vadar_.mp3

Yugen Blakrok: Neo.Vadar, on: ibid.: The Return of the Astro-Goth, Iapetus Records 2013.
Lyrics: Neo.Vadar After sunshine, comes the rain - some laugh, looking for pain And sabotage their thought trains, crashing, burning in vain But when the artist in nature puts the rhythm in the poetry Build character, pass traditions orally to progeny So the dominant gene can survive through the ages Stand the test of time like sacred knowledge from the ancients Now I walk these legendary paths armed with poetic bars Beyond deserted minds where even knowledge is sparse And chant mantras, even in sleep I stay hypnotized I am but a dream inside the infinite mind YouTube Playlist <<Back Next>>

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A Diasporic Culture at Home: South African Hip Hop Hip Hop has had a presence in South Africa since the mid-1980s. Hip Hop music was played in the clubs, kids danced and dressed along the lines of US American Hip Hop movies, and graffiti began to appear on the walls of Cape Town.[67] The social reality, however, was determined by the apartheid regime, especially for the so-called blacks and coloured people.

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While graffiti is technically considered a public nuisance in Capetown, it is seen as one of the main ways of artistic expression, and is still very prominent.

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Generally seen as a nuisance and illegal activity, street art has become a popular way to deal with current issues and beautify decaying areas around the city. Here we take a look at Cape Town's eclectic street art.

Cape Town street art emerged in the Cape Flats during the 1980s, an expansive area southeast of the city, where people of color were forced to move following the Group Areas Act. At that time, graffiti gave people a platform to express their outrage over the oppressive laws and discrimination against people of color in apartheid South Africa.

Today, street art is a widespread feature of the Mother City, decorating homes and buildings with brightly colored murals, and smaller artworks that are equally captivating.

These works of art are created by numerous local and foreign artists, and speak to diverse issues, from human rights to wildlife conservation. The best way to see them is by taking a walk through the city on one of the graffiti walking tours available, or with a local guide.

Cape Town CBD is a great starting point for a graffiti tour of the city. This artwork of an elephant with her baby was painted by Falko One, who is regarded as one of the most famous street artists in South Africa. With a career spanning three decades, Falko has been influential in the development of South Africa's graffiti scene, and has traveled around the globe to share his extraordinary artworks.

Many of the buildings on the border of District Six and The Fringe have been beautified with bold street art related to freedom and equality in South Africa.

Decorating the side of an electric substation, this vibrant mural by prominent Cape Town artist Mak1one, commemorates the life of former South African president Nelson Mandela. It can be seen on the corner of Canterbury and Constitution Street.

Another Mak1one mural is visible on the opposite side of the same building. It depicts a young boy and girl 'flying through history into the future,' with the words 'District Six' running across. The work was created to inspire viewers to connect to the positive spirit and multicultural essence of District Six.

More inspiring works from District Six...

Woodstock is one of the foremost areas for street art in Cape Town. Many of the businesses in the area are adorned with street art, and a host of impressive murals can be seen around the suburb.

This black and white mural was painted by Freddy Smith, an acclaimed street artist who highlights current social issues. The work was completed in 2014 to commemorate 20 years of democracy in South Africa.

Cape Town artist, Chris Auret painted this mural in memory of local rapper Bonzaya, seen on Albert Road.

A few other murals from the area...

The quirky neighborhood of Observatory features a range of bright murals and singular artworks in bustling Lower Main Road.

A striking mural by popular female artist Nardstar lines the wall of a narrow side street off Lower Main Road. Nardstar uses cubism and a strong color palette in her work.

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A Tour of Cape Town's Eclectic Street Art

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Generally seen as a nuisance and illegal activity, street art has become a popular way to deal with current issues and beautify decaying areas around the city. Here we take a look at Cape Town's eclectic street art.

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Along with the Black Lives Matter movement which became much more prominent in the past year, Black Noise, the oldest rap crew coming from South Africa released "Black Noise Matters"

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's new EP is titled Black Noise Matters, and consists of 10 songs. The project is the first of an ongoing series of three EPs the Cape Town-based crew is releasing to commemorate three decades of its existence.

Black Noise Matters includes the 2013 single "Black is Back" which was originally supposed to appear on a project the crew promised for the same year to commemorate 25 years since their formation in 1988.

All but one song, the title track, on Black Noise Matters feature different guests which you may or may not be familiar with- Burni Aman, Nikki Autumn, Monox and Terror MC are some of the names who contribute verses and hooks to the highly socially conscious release.

Messages of self-love, standing up for self, caring for one another, preserving our cultures, racism and colonialism are prevalent on Black Noise Matters. For instance, the song "We Belong to the Land" featuring Burni Aman from the group Godessa, touches on the burning issue of land reform. Burni Aman and Black Noise members Emile YX? and Jay P each share history lessons on how colonialists stole land from the original inhabitants of the south of Africa.

Sonically, Black Noise Matters is primarily boom bap and funk, with songs that will be accessible even to non-hip-hop fans, but still the project doesn't compromise on an artistic integrity and expression.

Stream Black Noise Matters below:

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One of South Africa's Oldest Hip-Hop Crews Black Noise Releases a New Project 'Black Noise Matters'

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's new EP is titled Black Noise Matters, and consists of 10 songs. The project is the first of an ongoing series of three EPs the Cape Town-based crew is releasing to commemorate three decades of its existence.

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An overview of Apartheid in South Africa

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An overview of Apartheid in South Africa

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Here is an overview of the history of apartheid and its roots in South Africa, one of the biggest influences on hip-hop in South Africa in general.

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Apartheid in South Africa

Racial segregation and white supremacy had become central aspects of South African policy long before apartheid began. The controversial 1913 Land Act, passed three years after South Africa gained its independence, marked the beginning of territorial segregation by forcing Black Africans to live in reserves and making it illegal for them to work as sharecroppers. Opponents of the Land Act formed the South African National Native Congress, which would become the African National Congress (ANC).

Did you know? ANC leader Nelson Mandela, released from prison in February 1990, worked closely with President F.W. de Klerk's government to draw up a new constitution for South Africa. After both sides made concessions, they reached agreement in 1993, and would share the Nobel Peace Prize that year for their efforts.

The Great Depression and World War II brought increasing economic woes to South Africa, and convinced the government to strengthen its policies of racial segregation. In 1948, the Afrikaner National Party won the general election under the slogan "apartheid" (literally "apartness"). Their goal was not only to separate South Africa's white minority from its non-white majority, but also to separate non-whites from each other, and to divide Black South Africans along tribal lines in order to decrease their political power.

Apartheid Becomes Law

By 1950, the government had banned marriages between whites and people of other races, and prohibited sexual relations between Black and white South Africans. The Population Registration Act of 1950 provided the basic framework for apartheid by classifying all South Africans by race, including Bantu (Black Africans), Coloured (mixed race) and white.

A fourth category, Asian (meaning Indian and Pakistani) was later added. In some cases, the legislation split families; a parent could be classified as white, while their children were classified as colored.

A series of Land Acts set aside more than 80 percent of the country's land for the white minority, and "pass laws" required non-whites to carry documents authorizing their presence in restricted areas.

In order to limit contact between the races, the government established separate public facilities for whites and non-whites, limited the activity of nonwhite labor unions and denied non-white participation in national government.

Apartheid and Separate Development

Hendrik Verwoerd, who became prime minister in 1958, refined apartheid policy further into a system he referred to as "separate development." The Promotion of Bantu Self-Government Act of 1959 created 10 Bantu homelands known as Bantustans. Separating Black South Africans from each other enabled the government to claim there was no Black majority and reduced the possibility that Black people would unify into one nationalist organization.

Every Black South African was designated as a citizen as one of the Bantustans, a system that supposedly gave them full political rights, but effectively removed them from the nation's political body.

In one of the most devastating aspects of apartheid, the government forcibly removed Black South Africans from rural areas designated as "white" to the homelands and sold their land at low prices to white farmers. From 1961 to 1994, more than 3.5 million people were forcibly removed from their homes and deposited in the Bantustans, where they were plunged into poverty and hopelessness.

Opposition to Apartheid

Resistance to apartheid within South Africa took many forms over the years, from non-violent demonstrations, protests and strikes to political action and eventually to armed resistance.

Together with the South Indian National Congress, the ANC organized a mass meeting in 1952, during which attendees burned their pass books. A group calling itself the Congress of the People adopted a Freedom Charter in 1955 asserting that "South Africa belongs to all who live in it, Black or white." The government broke up the meeting and arrested 150 people, charging them with high treason.

Sharpeville Massacre

In 1960, at the Black township of Sharpeville, the police opened fire on a group of unarmed Black people associated with the Pan-African Congress (PAC), an offshoot of the ANC. The group had arrived at the police station without passes, inviting arrest as an act of resistance. At least 67 people were killed and more than 180 wounded.

The Sharpeville massacre convinced many anti-apartheid leaders that they could not achieve their objectives by peaceful means, and both the PAC and ANC established military wings, neither of which ever posed a serious military threat to the state.

Nelson Mandela

By 1961, most resistance leaders had been captured and sentenced to long prison terms or executed. Nelson Mandela, a founder of Umkhonto we Sizwe ("Spear of the Nation"), the military wing of the ANC, was incarcerated from 1963 to 1990; his imprisonment would draw international attention and help garner support for the anti-apartheid cause.

On June 10, 1980, his followers smuggled a letter from Mandela in prison and made it public: "UNITE! MOBILIZE! FIGHT ON! BETWEEN THE ANVIL OF UNITED MASS ACTION AND THE HAMMER OF THE ARMED STRUGGLE WE SHALL CRUSH APARTHEID!"

President F.W. de Klerk

In 1976, when thousands of Black children in Soweto, a Black township outside Johannesburg, demonstrated against the Afrikaans language requirement for Black African students, the police opened fire with tear gas and bullets.

The protests and government crackdowns that followed, combined with a national economic recession, drew more international attention to South Africa and shattered any remaining illusions that apartheid had brought peace or prosperity to the nation.

The United Nations General Assembly had denounced apartheid in 1973, and in 1976 the UN Security Council voted to impose a mandatory embargo on the sale of arms to South Africa. In 1985, the United Kingdom and United States imposed economic sanctions on the country.

Under pressure from the international community, the National Party government of Pieter Botha sought to institute some reforms, including abolition of the pass laws and the ban on interracial sex and marriage. The reforms fell short of any substantive change, however, and by 1989 Botha was pressured to step aside in favor of another conservative president, F.W. de Klerk, who had supported apartheid throughout his political career.

When Did Apartheid End?

Though a conservative, De Klerk underwent a conversion to a more pragmatic political philosophy, and his government subsequently repealed the Population Registration Act, as well as most of the other legislation that formed the legal basis for apartheid. De Klerk freed Nelson Mandela on February 11, 1990.

A new constitution, which enfranchised Black citizens and other racial groups, took effect in 1994, and elections that year led to a coalition government with a nonwhite majority, marking the official end of the apartheid system.

Sources

The End of Apartheid. Archive: U.S. Department of State.
A History of Apartheid in South Africa. South African History Online.
South Africa: Twenty-Five Years Since Apartheid. The Ohio State University: Stanton Foundation.

Fact Check

We strive for accuracy and fairness. But if you see something that doesn't look right, click here to contact us! HISTORY reviews and updates its content regularly to ensure it is complete and accurate.

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Apartheid: Definition & South Africa | HISTORY

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Apartheid, the legal and cultural segregation of the non-white citizens of South Africa, ended in 1994 thanks to activist Nelson Mandela and F.W. de Klerk.

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Apartheid's Influence on the Music Scene

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Apartheid's Influence on the Music Scene

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This article addresses the response from not only South African artists to apartheid, but from other, world renowned artists and groups in their expression against apartheid.

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Hip-Hop's link to the struggles of apartheid aren't widely discussed, considering the abolishment of the racist practice in South Africa ended during the golden age of the genre. However, there have been several instances in the 1980s where rap artists of lore voiced strong opposition to the majority rule Afrikaners' oppressive ways.

One important event that must be mentioned is the Artists United Against Apartheid and the boycott of Sun City. Sun City, which was essentially a resort for the rich cut off from the rest of South Africa's ills, presented a false representation of what was truly happening outside its walls. Despite a global chorus of public figures decrying apartheid, then-president Ronald Reagan backed away from assisting in efforts to end the segregation.

In response, several prominent musicians formed the Artists United Against Apartheid group behind the boycott efforts of Steven Van Zandt of Bruce Springsteen's E Street band. Joining Van Zandt was Bob Dylan, Hall & Oates, Miles Davis, George Clinton, Bobby Womack among others. Hip-Hop acts such as Run DMC, Kool Herc, Melle Mel, Kurtis Blow and Afrika Bambaataa followed suit in creating several versions of a protest track, "Sun City."
Watch the video below:
As noted by writer and activist Davey D, some acts such as Ray Charles and the O'Jays didn't join the boycott efforts and nearly undermined its push. But these actions would go on to spark and inspire some of Rap's up and coming to address the issue on their own terms.

Rappers like Kool G Rap mentioned Mandela's release in 1990 on the track "Erase Racism," and groups like Public Enemy verbally checked South Africa and apartheid in 1987 on the track "Timebomb."

The Hip Hop Against Apartheid 12-inch single released in 1990, "Ndodemnyama (Free South Africa)," featured greats such as Queen Latifah, U.T.F.O., Lakim Shabazz, Jungle Brothers and X-Clan. Stetsasonic, considered the first Hip-Hop band, released its record "A.F.R.I.C.A." in 1987, which also featured heavy anti-apartheid themes.

The bonds between Hip-Hop and South Africa remain strong to this day, thanks in part to the efforts of Washington-based rapper, educator and activist Gabriel "Asheru" Benn. Although Asheru has been well-known in underground rap circles after working with other great modern MCs such as Talib Kweli, he gained national fame as the rapper who provided the theme song for the popular The Boondocks cartoon series.

Asheru's latest album, "Sleepless In Soweto," was inspired by his many trips to South Africa, where he has performed and held workshops with local Hip-Hop artists. Asheru hopes to continue forging the unique bond that African-Americans and Africans share via music and culture, using Hip-Hop as the foundation.

The passing of Nelson Mandela was, without doubt, an earth-shattering event. But there has been a positive remembrance of Madiba's achievements that removes the sting of sadness. Mandela was definitely admired by rappers in verse, even those who on paper wouldn't appear to have any reverence for the great leader. Common, Jadakiss, Nas, The Game, and countless others have all wisely given props to Mandela in times past.

Hip-Hop's image today isn't one of delivering sound messages to the people, especially via its mainstream channels. But there still exists powerful and potent voices that have plenty to say. Just like decades ago, we still have a bevy of artists within the often-criticized genre to look to for positive inspiration and the link between Hip-Hop and the ending of apartheid proves that fact.

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Hip-Hop And Apartheid: How Rap Artists Combated South Africa's Injustice

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Hip-Hop's link to the struggles of apartheid aren't widely discussed, considering the abolishment of the racist practice in South Africa ended during the golden age of the genre. However, there have been several instances in the 1980s where rap artists of lore voiced strong opposition to the majority rule Afrikaners' oppressive ways.

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12 of the Most Influential Songs Against Apartheid

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12 of the Most Influential Songs Against Apartheid

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Here contains a list of 12 of the most influential songs that are outspoken against apartheid and its past rule in South Africa.

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12 Essential Anti-Apartheid Struggle Songs from South Africa & Around the World

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OkayAfrica's mission is connecting a global audience to Africa. We are a youth-driven news site featuring comprehensive coverage of the latest news, culture, art, music and lifestyle from across Africa and the wider diaspora.

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Here can be seen an example of one of these 12 songs from a world renowned artist, Stevie Wonder, as he speaks out against Apartheid.

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In this article, it is made clear that hip-hop reigns supreme as the most popular music when it comes to not only listeners, but also influence in South Africa on its youth.

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1994

Prophets of Da City performs at the inauguration of Nelson Mandela.

First SA hip-hop music video TV debut, Never Again, by Prophets of Da City.

DJ Bionic (Bradley Williams) and DJ Blaze (Blaise McLeod) establish the Saturday hip-hop sessions at 'Le Club in downtown Johannesburg.

Hip-hop in the Cape Flats had a similar impact to that of hip-hop in the Bronx. It was used as a tool to displace gang violence and promote peace and progressiveness with music, dance, and fine art.

It is thus no misnomer to argue that it is on the shores of the Cape where it was initially embraced.

What became the evolution of hip-hop in the US, the transition from old-school to the golden age, was followed by the evolution of SA hip-hop in sound, style and narrative.

This became a time when the "winds of change" carried the treasure that is hip-hop to the streets of the City of Gold.

1995

Formation of the band The Original Evergreen by Brendon le Roux, Sebastian Voight, Gaston Galiath, Mark Buchanan, and DJ Soap.

The South African Music Awards (Samas) are established as FNB Samas, with a Best Rap Album category scooped by Prophets of Da City with their album Phunk Phlow.

1996

Cube Records releases TheMuthaload, a Gauteng hip-hop compilation.

Amu, aka Amunishn (Amukhelani Tshawane), makes his music debut with the single Skillz from The Muthaload, the video of which makes a Chanel O debut.

Formation of the cult-crew Audio Visual by Snaz D (Julian du Plessis), Ben Sharper (Kgotso Semela), and Krook'd tha Warmonger (Isaac Chokwe).

Formation of the group Skwatta Kamp by Infa, Nish, Shugasmakx, Flabba, Nemza, Slikour, and Bozza.

Formation of the group Verbal Assassins by Jabba aka HHP (Jabulani Tsambo), and his friends.

Prophets of Da City records a song with Afrika Bambaataa, tours Europe and the Americas, and shares a stage with The Fugees, Public Enemy and James Brown.

The Original Evergreen wins Best Rap Album at the FNB Samas.

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Exploring the evolution of the hip-hop culture in SA

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Local artists still keeping it real or losing the plot?

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The Biggest Hip-Hop Festival in South Africa

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The Biggest Hip-Hop Festival in South Africa

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This article discusses the biggest hip-hop festival in South Africa, held in Johannesburg, named the Back to the City Festival, including some more popular and more niche artists from South Africa.

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South Africa's biggest and most diverse hip-hop festival, Back To The City, came and satisfied hip-hop heads on the 27 th of April at Mary Fitzgerald Square in Newtown, Johannesburg.

On the bill were both superstars and niche artists, the likes of Cassper Nyovest, K.O., Nadia Nakai, Yugen Blakrok, Rouge, OkMalumKoolKat, Assessa, who all shared the same stage and dished out energetic performances.

As usual, all elements of hip-hop were in full display-DJing, rapping, graffiti, basketball, skateboarding.

During the festival, an announcement was made that Back To The City would come to an end in 2021, in its 15th year. The organizers are keeping mum about their reasons, but when they are revealed, you will be updated.

Below are some photos from the festival:

Main Stage Performances

The People

Graffiti, Basketball and Skateboarding
All photography by Sabelo Mkhabela, who's lit on Instagram: @sabzamk.

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This Is What South Africa's Biggest Hip-Hop Festival Looks Like

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South Africa's biggest and most diverse hip-hop festival, Back To The City , came and satisfied hip-hop heads on the 27 th of April at Mary Fitzgerald Square in Newtown, Johannesburg. On the bill were both superstars and niche artists, the likes of Cassper Nyovest, K.O., Nadia Nakai, Yugen Blakrok, Rouge, OkMalumKoolKat, Assessa, who all shared the same stage and dished out energetic performances.

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Nasty C, a hip-hop artist from South Africa currently, is making a global impact, and even has signed with Def Jam Recordings, the same label that is home to Big Sean and Kanye West.

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Like many people these days, South African rapper Nasty C is hunkering down to stay safe. But even from the comfort of his home in Johannesburg, he keeps a tight schedule.

"I've just been trying to keep busy, bro. Trying to make sure I stay on my toes and I don't lose my creativity," Nasty C tells For the Record . "It's a very crucial moment in my career."

The emcee, born Nsikayesizwe David Ngcobo, has come a long way since he first started honing his mic skills as a 9-year-old growing up in the coastal city of Durban. After drawing attention from fellow South African artists like Cassper Nyovest and Tellaman and collaborating with stars from as far off as Nigeria and New York, he's now poised to make a huge impact as he secures his place in front of a global hip-hop audience.

Nasty credits Spotify for helping introduce his songs to new listeners around the world. He was one of the top-streamed artists on Spotify South Africa in 2019 and also features prominently on much-streamed playlists like Most Necessary and .

"It's life-changing. It's just made it so much easier to connect with people outside our borders," Nasty says. "It's almost as if it shops your music around for you."

In fact, Nasty just signed a deal with Def Jam Recordings, the pioneering New York hip-hop label that's also home to artists like Big Sean and Kanye West. And in June, he dropped " ," a heartfelt single about social justice featuring one of his childhood heroes, legendary Atlanta rapper T.I.

"T.I. is the reason I picked up a pen in the first place," Nasty says.

It was Nasty's older brother who first taught him how to make beats and spit rhymes. Many South Africans are more familiar with kwaito, a local take on house music and hip-hop that first emerged in the 1990s. But Nasty was immediately enamored by the sound of American artists like Lil Wayne and Future. As he honed his flows and developed his voice, he also took inspiration from South African stars like AKA, who was integral in building a local English-language hip-hop scene in a country where many performers sing in South African languages.

Nasty was only 15 when he dropped his first mixtape, 2013's One Kid a Thousand Coffins Soon he was attracting industry attention and building a fan base across the country. In 2015, he won the Best Freshman trophy at the South African Hip Hop Awards. Not long after, he got a message from Nigerian Afrobeats star Davido inviting him to contribute a verse to a dreamy hybrid of Afrobeats and trap titled " Coolest Kid in Africa ."

Now Nasty is preparing to drop his latest album, Zulu Man with Some Power . With appearances planned from prominent names like T.I. and No I.D. (who produced JAY-Z's album ), the album represents a major step onto the global stage. Joining the Def Jam roster, Nasty can't help but feel honored by this recognition from the hip-hop establishment in the United States, where hip-hop first started.

Naturally, this forthcoming effort also gives Nasty the chance to show the world what South Africa-and South African hip-hop-is all about.

"Without hip-hop, I don't know how I would've made it to where I am right here. It's given me a voice. It's given me confidence to speak on certain things, to speak for a generation," he says. "It's a big step-it's like me coming of age."

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From South Africa to New York, Rapper Nasty C Is Making a Global Impact - Spotify

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Like many people these days, South African rapper Nasty C is hunkering down to stay safe. But even from the comfort of his home in Johannesburg, he keeps a tight schedule. "I've just been trying to keep busy, bro. Trying to make sure I stay on my toes and I don't lose my creativity," Nasty...

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T.I. and Nasty C paired up in order to make a song, a huge breakthrough for Nasty C as T.I. served as his inspiration to start making music.

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Nasty C & T.I. - They Don't [Official Lyric Video] [Explicit]

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Women Working Together in South African Hip Hop

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Women Working Together in South African Hip Hop

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It is clear that in South Africa, the main players are working together in order to help each other grow and flourish in an already growing scene in South Africa.

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It's no different in South Africa. There seems to be a strong camaraderie between female rappers. The last two years have been clear evidence of that as Gigi LaMayne hosted the Gigi Gang show in the first quarter of 2019. She became the first South African female hip hop artist to host a one-woman show in Africa.

The year before, Miss Pru recruited Nadia Nakai , Gigi alongside Londie London to make Isaga Lam. The ten-year veteran was motivated to do a song that aligned with International Day of the Girl Child and since its release, the music video has garnered 600 000 views on YouTube.

Female rappers like Moozlie and Rouge have been consistent with working with other women in the industry - whether it's with working with other female producers or rappers. The two came together for the hard-hitting and 808's heavy Mbongo Zaka track which was on Rouge's last album, the New Era sessions.

Moonchild Sanelly has also been a frequent collaborator with other female rappers like Toya Delazy and Dee Koala . She reached out to Dee Koala after seeing her picture online and expressed a desire to work with her. "Nkqo nkqo" was the result and the song is a crowd favourite at shows.

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The spirit of collaboration between women in South Africa's hip hop scene

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It's no different in South Africa. There seems to be a strong camaraderie between female rappers. The last two years have been clear evidence of that as Gigi LaMayne hosted the Gigi Gang show in the first quarter of 2019. She became the first South African female hip hop artist to host a one-woman show in Africa.

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Here is an example of South African female emcees working together in their music. MissPru recruited multiple other female emcees from South Africa for this project, which has now accrued over 780,000 views on Youtube.

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MissPru Dj - Isaga Lam  Ft LaSauce, Gigi Lamayne, Nadia Nakai & Londie London (Official Music Video)

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Gigi Lamayne first South African female hip-hop artist to host one woman show

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Gigi Lamayne first South African female hip-hop artist to host one woman show

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In 2019, Gigi Lamayne made history in becoming the first female hip-hop artist in South Africa to host a one woman show, and this article talks about some of the best moments.

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Gigi Lamayne made history with her much-anticipated Gigi Gang Show on Saturday at the Elkah Stadium in Soweto.

Gigi is the first South African female hip hop artist to host a one-woman show in Africa.

She wowed the audience by performing a number of her hits, including Lobola and Bozza. In the weeks leading up to the performance, she said the show was not just to celebrate her, but all the women in hip hop.

Industry heavyweights, including Mshoza, Reason, Khuli Chana, Gabisile Tshabalala, Nomuzi Mabena and Nadia Nakai threw their weight behind her and delivered stunning performances.

Here are three of them:
Nadia Nakai

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Nadia Nakai, Reason & Gigi - Three lit moments from the Gigi Gang Show

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Gigi Lamayne made history with her much-anticipated Gigi Gang Show on Saturday at the Elkah Stadium in Soweto. Gigi is the first South African female hip hop artist to host a one-woman show in Africa. She wowed the audience by performing a number of her hits, including Lobola and Bozza.

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Perspectives of Female Hip-Hop Artists from South Africa

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Perspectives of Female Hip-Hop Artists from South Africa

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Here, 6 different female hip-hop artists are interviewed and asked questions about themselves, and the current state of not only hip-hop in South Africa, but women in hip-hop as well.

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As topics such as sexism and the exclusion of women from hip-hop make headlines internationally, Stefanie Jason spoke to six female rappers in South Africa to get their take on the industry.

Every now and then, the state of women in hip-hop is brought into question. Whether it's the representation of women in the genre or highlighting the female rappers who have made an indelible mark on the industry, "women in rap" is a topic constantly touched on throughout the globe. The issue saw a recent revival in South Africa when well-known South African musician and poet Ntsiki Mazwai published an open letter to the hip-hop community.

In her letter, Dear Brothers in SA Hip Hop, Ntsiki writes about playing her part on the local rap scene (having hosted renowned Johannesburg-based hip hop events like Splash Jam and Black Sunday), and the treatment and erasure of women from the genre.

"I want to alert you of your sickness of hating, objectifying and not acknowledging the female spirit which has helped in the building of South African Hip Hop," she writes. While detailing how female musicians tend to be marganalised on the scene, Ntsiki adds that, "As things stand, SA Hip Hop is VERY masculine."

In a January article titled In Between Cultural Appropriation, Racism, and Sexism: Azealia Banks and the Erasure of Black Women in Rap, Austin McCoy points out how structures like award shows and the media aid the marginalisation of women (particularly black women) from hip-hop. "This was evident in Complex's recent story, The Best Rapper Alive, Every Year Since 1979," he writes. "Three women - Roxanne Shante (1984), Lauryn Hill (1998), and Nicki Minaj (2010) - earned honorable mention. So, according to Complex, out of the hundreds of rappers, only three black female rappers have made an impact on hip hop culture as individual artists in 35 years."

Back in South Africa, the country's only award show specifically aimed at the genre, the SA Hip Hop Awards, reinforces McCoy's assertion that structures aid the exclusion of women in rap. With categories like "King of Limpopo," "King of Gauteng," "King of Free State," it's hard not to wonder how women can get recognition as hip-hop practitioners at the awards. The media's constant highlighting of South Africa's male rappers has also clouded the contribution that women have made to the country's industry, which Ntsiki details in her open letter. A 2013 XXL magazine article on South Africa's top 10 rappers, for example, included not a single female rapper.

Despite the harsh reality for women emcees, Osmic Menoe, the organiser of the SA Hip Hop Awards, seems positive about the future for women in the genre. "I think it's starting to shape up a bit and get more progressive. It's getting to that point where their voices are getting heard because there are more [female rappers on the scene] than in other years. For them to get to where they are now they also went through a lot of struggles."

Asked about his thoughts on female rappers in relation to the SA Hip Hop Awards, Osmic recalls the show's bleak past. "At some point in time, when it came to the awards, there were no women that we could find until [we hosted] workshops. We had a workshop about two years ago - during the second year of the awards - called 'The female aspect of the culture'," he says. "The minute five women start looking big and like they are doing it, what that does is bring in 10 or 20 more because they can see that it is possible, and that it can happen."
Stefanie Jason writes stories for the Mail & Guardian Friday when she's not rumbling through Johannesburg's dusty thrift store stockpiles and gallivanting around the city's many visual art galleries. You can follow her on Twitter @StefJason.
As South African female rappers like Gigi Lamayne, Nadia Nakai and Missy RBK continue to rock the industry, I spoke to six emcees about their music and thoughts on being women in a male-dominated industry.

Yugen Blakrok
How would you describe the content of your rap?
Disciple of rap superstar groups like Wu Tang Clan and Organized Konfusion, Yugen Blakrok describes her music as alternative hip-hop, which straddles on the "darker and more lyrical" side of rap. And after hearing her 2013 album Return of the Astro-Goth, it's easy to understand why. With its boom-bap-sounding backdrop, the Eastern Cape rapper, who is currently based in Joburg, uses her futurist lyrics to comment on social landscapes. Signed to renowned indie label Iapetus Records, Yugen was nominated for Best Freshman, Best Female Emcee and Best Lyricist at the 2014 SA Hip Hop Awards.
Isn't it hard to separate being a woman and African from your experience?
The topics that I rap about are quite universal and I put a lot of time into the imagery of the raps. I'm always speaking from a human being perspective and not from a 'I'm a female emcee' or 'I'm an African' perspective. The content that I put into songs are experiences that I go through.
I was looking at the nomination list of the awards and I noticed that it's a very male-dominated list. What do you think of gender and hip-hop in SA?
Sure, but I'm not letting my gender define me. An emcee is an emcee. Within the hip hop culture, emceeing is based on your actual skill. I don't use terms like female emcee or femcee, because if you want to reach out to an audience you have to be real. And that's not something that I'd like people to focus on when it comes to me. The fact that I'm a woman does come into play at some point when listening to my music but I'm all about breaking the boundary.
So what do you think the industry should do to overcome these gender biased issues?
We've got a long way to go. Last year I was nominated for three categories, and one was lyricist of year award, which I was the most excited about. Just getting the acknowledgment from this industry that we're working so hard towards building, meant a lot. I did notice that I was the only woman nominated in that category, and I think that can create the illusion that women don't have something worth saying. I was also the only female artist who performed at the awards. And when they do screen it on TV, there are certain things that they cut out [like my performance]. On a personal, I didn't think that having one representative of the hip hop culture was true reflection of where we're at.

We're not saying, 'put us on the frontline because we're women' but when a woman is there, and she does have the skill - why make things extra difficult for her? Why make her feel like a woman, when she's coming to you like an emcee or as an artist?
Why did you steer towards a motshwako sound?
Energetic Chaz Le Hippie might be fairly new to the South African rap industry, but she's already made her mark on it. Crowned the "Queen of Street Rap" last year, the 17-year-old - who is completing her last year of high school - says she wants to focus on her studies before seriously putting her brand out. But that's too late, because the West Rand, Johannesburg-based rapper is already getting heavy airplay and performance time. With her fast-paced raps, Chaz mixes up the local language seTswana and English, a South African rap sub-genre known as Motswako.
How would you describe motshwako?
For me, motshwako wasn't a choice, it's how I developed my talent at [my label] Mawaza studio, which is where I was surrounded by a lot of motshwako rappers. There I learnt how amazing our mother tongue is and how it can tell a story. So I made a transition from an English rapper to a motshwako rapper.
Can you tell us more about your title, Queen of Street Rap?
It's a mixture of everything. I would define it as a language that doesn't define your boundaries.
Cool. And would you mind sharing your thoughts on SA's rap culture?
In 2014 I was crowned the Queen of Street Rap in Soweto [at a festival held by hip hop event Slaghuis]. It was competition and I battled over 10 female rappers. So now, there's a documentary being shot about it and I'll be featuring in it as the Queen of Street Rap.
And what about being a female rapper?
The SA hip hop culture and fraternity is developing immensely especially the interest in us female rappers. This is definitely going to be an interesting year for us as it has been labeled as our year. I'll still be on top of my game and authentic on all levels.

I feel that any female rapper could tell you that the rap industry is a male-dominated one. It's very hard for women in the industry. On the one hand it's wonderful experience because people anticipate your raps as a woman because you're something new, especially in South Africa. But on the other hand it's not easy, because the media platform perceive female rappers in a certain way. And I feel that if you don't fit into that category then there's not much exposure for you.

Rouge
What do you think of the landscape in SA?
Pretoria-born and bred rapper is undoubtedly one of the country's most exciting rappers right now. Her debut single, " Party," which she released at the end of 2014, reached the number one spot on national radio station 5FM's hip hop show The Stir Up. The big-haired, punchy lyricist's latest single, "Mi Corazon," has also received heavy rotation so far. Having just completed a degree in film and drama, the rapper of Congolese descent says, "I'm 100% focused on my music now. I was lucky that after school everything fell into place. I've been releasing a few singles, like 'Party' and 'Mi Corozon,' but I'm pushing to drop my album at the end of September."
How do you let your South African-Congolese heritage come through in such an American genre?
I think it's fantastic. It's amazing how hip hop has come into the foreground and it's an interesting time to be in the hip hop music industry now.
What do you think of female rappers on the scene?
By the stories that I tell; I'm a storyteller. I don't like talking about what I don't know about, and what I do know about is where I come from. So this comes through in my lyrics and the instruments. I love incorporating drums and French, where I can.
Do you think the structures within the local industry support women in rap?
I don't think that we have been delivering in the past. It's been tough but I think that it's an opportunity for us to take over. Especially now, it's the best time to be a female rap artist.
Who are some of your favourite female rappers?
I don't think it did before, but now it does. We weren't delivering before, as I said, therefore I think there weren't any structures for us. Where as now, I think everyone wants to hear what we have to say. Now we're trending.

I really love Gigi Lamayne, she is someone I can't deny. Lyrically, she is strong. Nadia Nakai, you can't write off. She's been there for a long time and has kept herself relevant. Those are the two that have really set the mark for us female rappers now.

Patty Monroe
What do you think of hip hop in South Africa?
Fresh on the scene for only a few months now, 20-year-old Patty Monroe's debut track, "High Fashion," marks her as a rapper to watch. The rapper's quirky debut single - produced by celebrated house producer Culoe de Song - delivers solidly and is far from cute. "I have a message, I don't just want to talk about tits and ass. There is a bigger picture," she asserts. Having recently moved from Cape Town to Johannesburg after signing to AfterLife Talent, "High Fashion" made it to the top 10 spot on Joburg youth radio station Yfm and secured her interviews on Vuzu TV and local hip hop magazine Hype. When asked about her love for rapping, Patty says: "I have always been a very outspoken person and music has been close to my heart. There's a way that you can use the two together and people will actually listen."
You're pretty young, do you feel intimidated by the scene?
It's amazing and has done so well. 2014 was a great year for SA hip hop and it's cool that the rest of the world is accepting our heads. And now, especially since all these women have started stepping up, hip hop's going to be a much better and colourful place.
What do you think some of the challenges are for women in rap?
I'm just young by the age the world gives me. I don't want people to let my age get in the way of what I'm doing.
Some of your favourites emcees?
I don't like the fact that people are always comparing female rappers. And I don't really like the superficiality. They say stuff like, 'look at how light her skin is', or 'she's a yellow bone'. I say, forget that and just focus on the art and the skill. In hip hop I feel that women get judged on being the whole package; and if you're not the entire package then they might not take note of you. Give everyone a chance.

Gigi Lamayne is dope and so is Busiswa [Gqulu], Rouge and Nadia Nakia. And in CPT, Miss Celaneous is good and representing where I come from.

Miss Celaneous
How would you describe your style of music?
"With sexually charged lyrics, punchlines to boot and metaphors for days...[Miss Celaneous] aims at liberating woman from all walks of life," is how Cape Town-based emcee, Miss Celaneous's press biography goes. The lingerie-clad, deep-voiced rapper's style in her latest video "#CheckMeOout", shows just this, as she evokes the sultry imagery and lyrical finesse of rappers like Foxy Brown and Lil Kim. The founder of her own clothing label, #Tsak Apparel, Miss Celaneous has been featured as a fashionista on television channels like MTV. The rapper, who waxes lyrical in English and Cape Town slang, says she "started rapping six years ago. But it's only recently that my music is out on radio. The difference now, from six years ago, is that I'm pushing a lot harder and I've discovered a formula, which I'm sticking to."
Care to share your thoughts on the South Africa's hip-hop scene?
My style is authentic to Cape Town and its slang. I rap how I speak. I'm trying to promote Cape Town and Cape coloured culture. I'm very proud of where I come from and what I do. And the beats have to speak to me so that I can write to it. If I'm not feeling it, I won't put it out.
So you're offering a solution?
To be honest with you, I'm extremely bored with the game at the moment. There's only a select few that are pushed to the fore and those few, I feel, are not the best in the industry. There are so many other people who are better but in SA there isn't really a chance for the underdogs to be exposed because of the industry's lack of infrastructure and money. But I'll shake things up this year.
What do you think about being a woman in the SA rap industry?
Totally [laughs]

It's kind of like a win or lose type of thing. There's so few of us, but what some people tend to do is pin us against each other because it seems as though there's just room for one. That's quite unfair because there are so many male emcees out there, why can't there be options for female rappers as well. There are a lot of dope female emcees, but we didn't really get the platform. However, recently that's changed quite a bit, which is pretty cool.

Devour Ke Lenyora
What are your thoughts on SA's hip hop scene as a whole?
Devour Ke Lenyora delivers her music with a laid back flow that eases out lyrical mastery over gritty boom-bap beats. The Daveyton, East Rand Johannesburg-bred rapper says she is still studying the business side of the industry and is currently working on a mixtape. "I'm very seriously about the craft, I'm trying to be great at it. I don't want to blow up prematurely, I just want the time to be right," she says. As Devour works closely with MX DaFreshPrince and B.Ma to achieve that laid back, hazy sound that she is known for, the underrated emcee says she is working on developing her music: "I'm still polishing myself [to get a ] broader appeal; a mass appeal," she asserts.

We've come a long way as a genre despite how infantile it is in the country. There's a lot of growth that's happened and people are warming up to it more.
And what about being a woman on the scene?
Hip hop in the country has grown by leaps and bounds. The genre has experienced proud firsts in the last couple of months; from KO hitting the one-million viewer mark on Youtube last year, to Cassper Nyovest's album recently going platinum. Such things used to be unheard of in the SA hip hop community. The influence that the genre has in the country right now reminds me of the 1990s Kwaito era, which is where the voice and vibrations of the youth came from in overwhelming strength ... That right there is power.

The female thing, eish, it's very tricky globally. But I don't see it as a con, I actually see it as a pro - it's to my advantage in fact. There's so much room for a female rapper who is, dare I say, dope, to be noticed. The only pressure for you as a female rapper, would be to come correct. Even if there are flaws to your raps, you should just go hard.

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Energetic Chaz Le Hippie might be fairly new to the South African rap industry, but she's already made her mark on it. Crowned the "Queen of Street Rap" last year, the 17-year-old - who is completing her last year of high school - says she wants to focus on her studies before seriously putting her b...

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Women reached new heights in South African hip-hop last year.

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The day begins with an educational Hip Hop Summit offering an exchange of knowledge from industry gurus working within the media, advertising and music business arenas. The aim of these workshops was to effectively empower the artist with as much knowledge to enable her/him to efficiently administrate their career and brand growth. We wanted to utilise the culture as a tool to encourage critical thinking, social change and unity while empowering communities through media, arts, education and independent initiatives.
Topics such as Publishing, Distribution, Recording, Independent versus Mainstream, Funding, and Entrepreneurship are openly discussed allowing audience members a chance to actively engage speakers, facilitating access to resources as well as empowering the youth with valuable knowledge.
Live performances and DJs entertain throughout the day while graffiti artists utilise the surrounding street walls as their canvasses, creating colourful masterpieces in the city. The Second stage is reserved for competitions for rappers, beatmakers, dancers, and alternative Hip Hop performances.

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The day begins with an educational Hip Hop Summit offering an exchange of knowledge from industry gurus working within the media, advertising and music business arenas. The aim of these workshops was to effectively empower the artist with as much knowledge to enable her/him to efficiently administrate their career and brand growth.

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For black women, many do not fully embrace feminist agendas in South Africa due to the fact that other issues as of right now still reign prevalent and may be more pressing for many.

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Why black women in South Africa don’t fully embrace the feminist discourse

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National Women’s Day in South Africa marks the historic protest in 1956 of women against apartheid policies. But, six decades on, black women have yet to fully embrace feminism as a discourse.

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While feminism as a whole has not truly been pushed to the extent that it can be in South Africa, women have made a tremendous impact on fighting for independence as a whole in South Africa.

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Women's History of Struggles in South Africa

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Women's History of Struggles in South Africa

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Women in South Africa have faced many struggles since the beginning of the 19th century in South Africa, and here is an idea of the history behind it.

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History of Women’s Struggle in South Africa | South African History Online

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15 South African Musicians Making a Huge Impact

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15 South African Musicians Making a Huge Impact

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Here is a list of 15 female artists, many who are either hip-hop artists or tie hip-hop into their music, who are pushing the boundaries as female artists in South Africa.

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From poets to rappers to producers and everything in between, South African women artists have always shaped the country's musical landscape. And they don't always play by the rules.

Take for instance, Zoë Modiga's accessible brand of jazz, which is still uncompromisingly jazz, Andy Mkosi who incorporates photography into her music, or Sho Madjozi who is bringing Tsonga dance into pop culture by mixing it with her raps and gqom beats.

Below, we list 15 exciting young women musicians who we believe are pushing boundaries in their craft and how they present it. Listed in no particular order.

Sho Madjozi

Photo by Sabelo Mkhabela.

Sho Madjozi, who is also known as Maya The Poet, is a breath of fresh air, there's no less cliché way to put it. She raps mostly in her mother tongue XiTsonga, a language of the marginalized Tsonga tribe. She fuses her hip-hop with house music and some elements of XiTsonga music. Another interesting element of Sho Madjozi's music are her live performances, in which she does the infamous XiTsonga dance-shaking what her mama gave her like there's no tomorrow. Her single "Dumi Hi Phone" and her appearances on , , OkMalumKoolKat's album Mlazi Milano PH's Wanlov The Kubolor's Orange Card: Fruitopian Raps are some of her many highlights thus far.

Zoë Modiga

Image via Zoë Modiga's Twitter.

Zoë Modiga's a well-rounded jazz musician-she has a great voice, is a great composer, and her live performance game makes her one of the best around. But what sets her apart is her approach to jazz. Her brand of the genre is more accessible to music fans who aren't necessarily jazz heads (and the jazz heads love her too). On her debut album, Yellow the Novel , she flirts with pop and R&B on songs like "Uh Oh (Sensible Life) " and "Love (Yaweh)."
Revisit our interview with Zoë Modiga here.
Andy Mkosi

Photo by Sabelo Mkhabela.

On the surface, Andy Mkosi is just another potent lyricist. But the way she presents her music puts her peers to shame. She understands that her music doesn't work in clubs. So she decided to bring her music to her listeners' homes in her successful Bedroom Tour, in which she performs to an intimate audience in a fan's house. Her latest EP This Audio Is Visual is followed by photography-she interpreted every song on the project with a photograph. She is giving this project another life in an exhibition of the images that accompany her music.

Fifi TheRaiblaster

Fifi The RaiBlaster at Iapetus Records studios. Photo: Sabelo Mkhabela

Fif The RaiBlaster is as leftfield as they come. Working with Iapetus Records, a label that prides itself in being free from the mainstream music machine, she fits perfectly. She and her producer Kanif The JhatMaster conjure the most sophisticated combination of vocals and hauntingly beautiful music. She becomes an otherworldly character in her music videos which have touches of science fiction and spirituality. The visuals go well with her lyrics which explore everything from love to astronomy and astrology. Her music doesn't fit any designated genre, as she creates her own rules.
Revisit our interview with Fifi TheRaiBlaster about her latest album Black Matter .
Push Push

Cape Town-based rapper Push Push is an oxymoron. There's both innocence and ferocity in her voice. Then there are her obnoxiously explicit lyrics-she cares less how you feel about her. Push Push is confident and doesn't care if it intimidates you-actually she prefers that. Her rhymes and character sit well over her preferred beat style, which is mostly bass-heavy EDM-centric beats that induce a booty-shake as much as they do a head-bob.

Nadia Nakai

Photo by Sabelo Mkhabela.

Zimbabwean-born Nadia Nakai is signed to Cassper Nyovest's Family Tree imprint. While a reasonable number of critics may question her use of her voluptuous body for attention, she owns it so well you can't help but respect her for it. She raps about sex unapologetically, and that earned her two verses on Stogie T's self-titled album last year. She shows her body off on music videos and live performances in an environment that's constantly trying to tame her. And her charisma does her more good than bad.

Melo B Jones

Melo B Jones's music is a cross between neo soul and R&B. In a country where most singers of her caliber usually find themselves being house vocalists or doing afro pop, she's sticking to her lane. She's worked with artists such as Ill Skillz and Reason among others. Melo is having fun with her art-a few years ago, she posted covers of hip-hop hits on her SoundCloud page, which eventually is an early Christmas gift for the lover of R&B and neo soul-she tells tales of love, champagne and became a trend other singers hopped on. The singer's latest EP situationships over polished boom bap beats.

Msaki

Eastern Cape-born musician Msaki's music is a blend of jazz and folk. Her voice is midway between a falsetto and alto, which, needless to say, is great for your ears. The soul and sincerity in her music is reminiscent of Joan Armatrading and Tracy Chapman. But Msaki's abilities stretch beyond that, as she has appeared on house songs by the likes of Mobi Dixon ("Love Color Spin") and Revolution ("Spring Tide"). Her album Zaneliza: How The Water Moves is a perfect listen for a Sunday morning.

Nonku Phiri

Image courtesy of artist.

Nonku Phiri is a maverick. The artists she collaborates with are unpredictable. Staying true to her hip-hop roots, she has worked with Ill Skillz, Tumi Molekane, Zeus, Camo, among others. But her hits come when she blends her vocals with experimental electronic production-she has made magic with the likes of Card On Spokes, Branko, PH Fat, Mr. Carmack on hits such as "Things We Do On The Weekend," "Let Me Go," and more. Beyond singing, she can also spit some raps under the moniker Jung Freud.

Patty Monroe

Photo by Sabelo Mkhabela.

Patty Monroe introduced herself to the South African music scene in pure style through her single "High Fashion." On the song she rapped over a skittering house instrumental by house music legend Culo De Song. Her single "Killin' It," featuring Uganda's Bebe Cool, saw her explore the concept of rapping over dance music instrumentals, which put her on her own lane. Her trap single "Talk," which was produced by Durban hitmaker Sketchy Bongo, proved she could rap over anything thrown her way. Her debut album gives a clear picture of what she's trying to achieve-the album has pop songs, and she goes beyond rapping, as she sings on some songs, to a point where it's difficult to categorize her craft according to genre.

Kajama

Image courtesy of artist.

It's rare to find women who produce in the South African music scene. The Joburg-based sister duo, Kajama, consists of Nandi and Nongoma Ndlovu, is here to disrupt the status quo. Nandi handles most of the duo's production. Their music is a blend of electronic music with sprinkles of East Coast hip-hop. Their soulful vocals float over spacious beats to create a futuristic sound you won't hear anywhere else except on their debut EP, Polarity Prism , which also features production from electronic music mainstay Micr. Pluto.

Shekhinah

Photo by Sabelo MKhabela.

Shekhinah has the potential to be a worldwide superstar. She makes catchy and memorable songs without being corny and repetitive. On songs like "Back To The Beach," "On It," "Let You Know," among others, she displays versatility as she sings over different production styles. Her writing is solid, and she sings effortlessly. With her debut album, which is due out sometime this year, she could change R&B and pop music in South Africa, with her unique approach to the genre, which plays around with EDM.
Read our interview with Shekhinah about her upcoming album .
Dope Saint Jude

Dope Saint Jude 'Reimagine' artwork by The Seppis

Cape Town-based rapper Dope Saint Jude has carved her own lane, which has seen her getting handpicked by M.I.A for a campaign. It has also seen her perform in some parts of Europe and the US. Maybe her music won't get to shake the the South African mainstream scene the way it does her niche fanbase. But her subversive lyricism which covers subjects like racism, sexuality, sexism and more, makes her an important voice of a generation that is dismantling all the isms it faces.

OtarelWorld

Durban-based rapper OtarelWorld is not riding the incumbent trap bandwagon. She's unapologetically 90s-she spits backpack raps over sample-laden boom bap production. While modern rap places a lot of emphasis on catchy hooks and hard-hitting 808s and bass lines, OtarelWorld puts lyricism first over every other shenanigan. Her debut mixtape Dirty All Stars is a true gift for the boom bap head, and is mixed by Grandmaster Ready D, which is a rare opportunity that not many emcees have had.

ThandoNje

Trap soul is slowly taking off in South Africa, but it has mostly been a . Pretoria's Thando Nje has been steadily building her name through her SoundCloud releases. What sets her apart from most R&B singers of today is that she hardly ever uses autotune on her vocals. She laces those cloudy pads and deep basslines with her natural voice, telling tales of love with enviable flair. Thando Nje is prolific-she has already released two projects in 2017 alone, TrustNje and New Age Soul . Also, don't sleep on her .

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15 South African Female Musicians Pushing the Boundaries

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From poets to rappers to producers and everything in between, South African women artists have always shaped the country's musical landscape. And they don't always play by the rules. Take for instance, Zoë Modiga's accessible brand of jazz, which is still uncompromisingly jazz, Andy Mkosi who incorporates photography into her music, or Sho Madjozi who is bringing Tsonga dance into pop culture by mixing it with her raps and gqom beats.

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Zulu is one of the primary languages that many artists use in their songs instead of the English language, giving it a different sound than hip-hop we may be used to.

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If you're travelling to South Africa and interested in learning a bit of local lingo, there are plenty of songs to help you out. Unfortunately, there are also plenty of languages to work your way through.

The country has 11 official languages, and several unofficial ones, but if you must pick one to learn by music, consider Zulu. It's the most widely spoken home language in the country, and it also lends itself nicely to some powerful and catchy hip hop songs. Though your ability to pick up the language based on some quick-fire hip hop lyrics is debatable, at the very least you'll expose yourself to some of the country's best MCs.

This politically-driven love song by popular hip hop artist Zuluboy serves as a powerful history lesson. 'Nomalanga Mntakwethu' is essentially a love letter written by a soldier fighting for freedom under apartheid. With a popular jazz sample and fast, meaningful lyrics, this is a great local song to get you interested in South African hip hop.

The track 'Gwan' isn't strictly Zulu - rapper MarazA uses Fanagalo, a mixture of languages including Zulu and English. The language originally arose on the mines of Johannesburg, where miners mixed dialects for easier understanding. It's a power track that rose to the top of the charts in 2016.

This song is a collaboration by some of the country's top hip hop artists. It's a complex tune well worth a listen for its musical idiosyncrasies. Sjava's lays down some solid lyrics, which ensured that this will be a legendary South African song for some time to come.

Kwesta's 2016 collaboration with Cassper Nyovest was one of the biggest tracks of the year. His debut album, on which this track featured, went gold, further entrenching this young star's importance on the local hip hop scene.

If you're looking for the ultimate Zulu hip hop collaboration of recent years, then listen no further than Thul'ujaive. Kwesta brought together three of the best Zulu songwriters to put together this powerhouse track. For months after its release this song was the bar and club anthem that got revellers to their feet. The catchy hooks and sharp lyrics mean it's not going away anytime soon either.

Zakwe hails from KwaZulu Natal, and so it's not surprising that his lyrics are influenced heavily by his home province and language. He's been around for some time now, and has worked with some of the best artists in the industry. Izinsizwa, released in 2015, is not only a powerful local hip hop tune, it's also accompanied by a captivating video that references his background and heritage.

Kid X is a leader in the local hip hop scene, and his quick, mostly Zulu lyrics and catchy hooks have built him a loyal following. He's collaborated with several key players in the industry, including Kwesta, Mzulu and Zakwe, and this 2017 track featuring Yanga and Mashayabhuqe draws heavily on auto-tune and quick lyrics to draw in the fans.

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The Greatest Hip Hop Songs That Will Help You Learn Zulu

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If you're travelling to South Africa and interested in learning a bit of local lingo, there are plenty of songs to help you out. Unfortunately, there are also plenty of languages to work your way through. The country has 11 official languages, and several unofficial ones, but if you must pick one to learn by music, consider Zulu.

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Here is an example of one of the more popular songs that comes out of South African hip-hop which is in the language of Zulu.

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South African Music and its 11 Languages

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South African Music and its 11 Languages

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South Africa is a very multicultural and diverse landscape, and therefore the music scene is the same. These different languages have allowed people and groups to express themselves creatively through music with the language of their choice.

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How South African Music Is Spreading Hope in 11 Languages

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Though some believe South Africa to be a divided nation, a stream of new artists are uniting audiences with hard-hitting multilingual music.

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Here is an example of a man from South Africa, dancing to hip-hop music in front of a crowd.

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South African Hip Hop Dance Moves on Steroids at Varsity Got Talent 2018

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With the growing popularity of hip-hop in South Africa, hip-hop dance has also found its way onto the scene and has emerged as a very popular form of dance.

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The Get Down! South African hip hop dancers on the art of moving

The hip hop industry has established itself as one of the fastest growing subcultures in local music. With dance being such a crucial component to the genre, it's no surprise that hip hop dance has huge cred in South Africa. Birthed in New York City in the mid-'70s with elements that consisted of breakdancing, rapping, DJing, graffiti art. Since then, the genre has expanded from being a subculture in inner city New York, and has extended beyond the US borders; to include womxn from all around the world.

Focusing on one of the elements, dance, we profile three womxn artists from the local hip hop scene, who explore styles such as popping, locking, breaking and more, and speak to them about their work.

Courtnae Paul

Age: 25
Location: Johannesburg
Styles of dance: Hip Hop, house and breaking

Courtnae Paul is a creative director, DJ, dancer and choreographer. Her experience as a gymnast has helped her to cultivate a unique approach to dance, which has afforded her a reputation as the go-to choreographer for big advertising campaigns for brands such as Cell C, Sprite and more.

How did you become a dancer and choreographer?
My background was gymnastics and kickboxing. I never intended to become a dancer - it happened by chance after I joined a church dance group. That said, I specialise in breaking. It's a style that fuses a bit of gymnastics and martial arts, so I think everything I did in the past prepared me for what I do now.

What was your big breakthrough?
I landed a national tour contract for a homegrown Bollywood show called Dance With Me Baby when I was 16. I was choreographing the hip hop routines used in it. That was a big break for me. I barely got paid but it put me in a space where I was working with 30-year-old professionals.

Are you working on any exciting projects at the moment?
Right now I am on a Sprite campaign and a Vodacom Deezer campaign, while also producing a show for an upcoming Huawei gala dinner.

Tarryn Alberts aka TNT or BOOMBOOM

Age: 27
Location: Johannesburg
Styles of dance: Hip Hop, waacking, vogue, dancehall, house, sbujwa, krump and freestyle

Famous for dancing her way around the world with Die Antwoord, Eldorado Park-born dancer Tarryn Alberts has raised the profile of Joburg's hip hop dance community to an international level.

What was your big breakthrough?
I used to dance for Johannesburg-based crew V.I.N.T.A.G.E Cru. Our debut on e.tv's reality show Step Up or Step Out in 2012 led to us performing in a music video for Die Antwoord, and then going on a world tour with them.

What's your process for creating choreography?
The music determines the style of dance. I love to create something where you can actually see what you're listening to. I try to hear everything in the music and always try to make choreography that makes you love the music, even if it's not your favourite track.

What's been a career highlight so far?
I've been on a world tour with Die Antwoord for four years now. I co-starred in a local dance flick called Pop Lock 'n Roll, which dropped 29 September nationwide in cinemas. I performed on stage with A$AP Ferg on his recent visit to Johannesburg. I also had the opportunity to visit the Nike Head Quarters in Portland to talk style and influence, and was a part of the Nike Do you Believe in More campaign.

Snenhlanhla Mbatha

Styles of dance: Hip Hop and krump

Snenhlanhla Mbatha trained in contemporary dance, acrobatics and tap dance at studio Dance Direction International before moving from Durban to Johannesburg. For the last 10 years she has honed her skills working with industry's finest, sharing the stage with rappers Kendrick Lamar and Travis Scott, to name a few. And choreographing the MTV Base Awards, Metro FM Music Awards and SAMAs, plus more.

Who was your inspiration for becoming a dancer-choreographer?
I've always had a hunger for dance knowledge. At age seven, I would watch music videos and pick up the choreography. I took inspiration from Janet Jackson, Aaliyah, Usher and Ginuwine. I later got inspiration from South African soap opera Backstage, which starred dancer Lorcia Cooper - she holds it down!

What was your big breakthrough?
Being one of the top 16 contestants on the second season of the SABC1 reality competition So You Think You Can Dance South Africa in 2010 launched my career.

What's your process for making choreography?
I believe that I'm terrible with words, so God blessed me with the language of dance. I take time to listen to the music and envision the end product. I always try to execute the mood of the song. I want the audience to relate to the piece. If you walk away not understanding my performance my mission hasn't been accomplished.

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The Get Down! South African hip hop dancers on the art of moving

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The hip hop industry has established itself as one of the fastest growing subcultures in local music. With dance being such a crucial component to the genre, it's no surprise that hip hop dance has huge cred in South Africa. Birthed in New York City in the mid-'70s with elements that consisted of breakdancing, rapping, DJing, graffiti art.

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Kwaito is a form of South African hip-hop that has emerged as its own genre, and while it is very similar to hip-hop, it does have its differences.

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Kwaito - South African Hip Hop by Various Artists on iTunes

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Preview, buy, and download songs from the album Kwaito - South African Hip Hop, including "Qula," "Yiyo Lendawo," "Amadlozi," and many more. Buy the album for $9.99. Songs start at $0.99.